From Chapter 2:
Tobacco was smoked by all classes and in almost all places. It was smoked freely in the streets. In some verses prefixed to an edition of Skelton's "Elinour Rumming" which appeared in 1624, the ghost of Skelton, who was poet-laureate to King Henry VIII, was made to say that he constantly saw smoking:

As I walked between
Westminster Hall
And the Church of Saint Paul,
And so thorow the citie,
Where I saw and did pitty
My country men's cases,
With fiery-smoke faces,
Sucking and drinking
A filthie weede stinking.

Tobacco-selling was sometimes curiously combined with other trades. A Fleet Street tobacconist of this time was also a dealer in worsted stockings. A mercer of Mansfield who died at the beginning of 1624, and who apparently carried on business also at Southwell, had a considerable stock of tobacco. In the Inventory of all his "cattalles and goods" which is dated 24 January 1624, there is included "It. in Tobacco 19.li 0. 0." Nineteen pounds' worth of tobacco, considering the then value of money, was no small stock for a mercer-tobacconist to carry.

From Chapter 7:
Hogarth's subscription ticket for the print of Sigismunda was Time smoking a Picture (1761). It represents an old man sitting on a fragment of statuary and smoking a long pipe against a picture of a landscape which stands upon an easel before him. Below, on his left, is a large jar labelled "Varnish." The figure of Time is nude and has large wings. Volumes of smoke are pouring against the surface of the picture from both his mouth and the bowl of his long clay pipe. In The Stage-Coach, or Country Inn-yard, is shown an old woman smoking a pipe in the "basket" of the coach. The plate of The Distrest Poet (1736) shows four books and three tobacco-pipes on a shelf. In the second of the "Election" series—the Canvassing for Votes (1755)—a barber and a cobbler, seated at the table in the right-hand corner, are both smoking long pipes. Apparently they are discussing the taking of Portobello by Admiral Vernon in 1739 with only six ships; for the barber is illustrating his talk by pointing with his twisted pipe-stem to six fragments which he has broken from the stem and arranged on the table in the shape of a crescent. In the frontispiece which Hogarth drew in 1762 for Garrick's farce of "The Farmer's Return from London," the worthy farmer, seated in his great chair, holds out a large mug in one hand to be filled with ale, while the other supports his long pipe, which he is smoking with evident enjoyment.